By Ericka Alston Buck
Special to The AFRO
On a pleasantly warm spring night in Baltimore on April 3 beginning at 7:30 p.m., the Joseph Meyerhoff Symphony Hall became something far greater than a concert venue—it became sacred ground. Gospel Fest, a breathtaking collaboration between the Baltimore Symphony Orchestra, Pastor Smokie Norful, and three of the nation’s most distinguished HBCU choirs, delivered an unforgettable experience that left the audience uplifted, tearful and spiritually full.
The night began with Jonathan Taylor Rush at the podium—a conductor known for seamlessly blending gospel fervor with classical sophistication. From the very first notes of “Lift Every Voice and Sing” the tone was set. Audience members rose to their feet with reverence, many placing hands over their hearts or lifting them toward the heavens. It was clear that this evening would be about more than music. It would be about memory, movement and ministry.
Following the Black national anthem the orchestra and choirs performed “Praise Ye the Lord,” a triumphant and joyful selection that filled every inch of the symphony hall. The energy was electric, and Rush’s conducting style—equal parts precision and passion—made the classical symphony feel like a lively church band.
One of the evening’s most poignant moments came with the world premiere of “Deep River,” a new work by James Lee III that was commissioned by the BSO. It was a piece that transcended time, evoking sorrow, resilience and ancestral memory in every note.
Audience member Dwight Jenkins, a music teacher in Baltimore City, described it as “hearing our ancestors sing through the instruments.”
The emotional weight of the composition was deeply felt across the room, with some listeners quietly wiping away tears.
To close the first half, soloists from each of the three participating university choirs—Bowie State University Choir under the direction of Brandon Felder, Howard Gospel Choir under Reginald Golden, and Morgan State University Choir led by Dr. Eric Conway—joined together to perform a soaring version of Kurt Carr’s “For Every Mountain,” arranged by Caldwell. Their voices blended in such harmony and grace that the audience rose for a spontaneous ovation.
Latrice Palmer, a University of Maryland, Baltimore County student and gospel choir member, said afterward, “That last note in ‘For Every Mountain’? I think we all went up the mountain and back down. Whew, the Spirit was moving.”
After intermission, Pastor Smokie Norful took the stage and transformed the Meyerhoff into what many described as a full-fledged church revival. Backed by the full orchestra and choir, he launched into a spiritually charged, nonstop journey through his greatest hits. His performance had the audience clapping in rhythm; “No Greater Love” brought forth sighs and soft “amens;” and when he got to his classic “I Need You Now,” the entire hall was visibly moved.
Retired educator Brenda Nichols of Randallstown shared, “The way Pastor Norful sang ‘I Need You Now’… whew. I had chills. It’s like every burden I walked in with was lifted.”
Norful’s set continued with “I Still Have You,” “In My Name,” and “I Understand,” each delivered with the depth and authenticity that has earned Norful two Grammys, 11 Stellar Awards, and a permanent place in gospel music history.
Throughout the evening, the three university choirs—each with their own legacy of excellence–served not only as vocal support but as spiritual pillars, anchoring the night in a sense of Black cultural pride and intergenerational harmony.
Melanie Jones, a choir director and Bowie State alumna, noted, “Seeing these HBCU choirs come together, that was history. This is what Black excellence sounds like.”
The night came to a close on a high note, with Norful’s final number bringing audience members to their feet in sustained applause, some even shouting “hallelujahs” and waving their hands in worship.
James “Pop” Wilkins, a retired postal worker from East Baltimore, quipped, “I could’ve sworn I saw deacons passing offering plates. That wasn’t a concert. That was revival.”
As the crowd slowly filed out of the hall, there was a quiet sense of awe, a collective exhale of joy and reverence.
Leonard Grant, a longtime BSO subscriber, was overheard saying, “Tonight, the Symphony Hall didn’t just echo music—it echoed ministry.”